Outside is dangerous, but inside is far more terrifying in Andrew Muir's drama, with menaces set in a tower block that could stand for Little England itself. Aeroplanes pass by outside; inside, the residents talk nervously of immigration and getting on in the world. They drink Chilean wine while displaying a worrying ignorance about Chile.

On the 12th floor, neurotic Anna and her smug but sexually frustrated husband, John, plan yet more home improvements and listen in on their poorer neighbours - people they view with contempt and patronise with charity. Their over-protected 12-year-old daughter, Sam, is spending her first night away from home and the pair have accepted a dinner invitation from Hugh and Claire on the 13th floor. This proves very unlucky for some.

Holly Best's design, with its window not on the world but on more tower blocks, is one of the best things about an evening that never really decides whether it's a Harold Pinter play or just a nasty thriller with an unpleasant - but extremely obvious - twist. As a result, both writing and production hover nervously between realism and something potentially far more strange and interesting.

The quartet of actors work hard but it is an uphill struggle in a play where character and motivation seem to have been decided on a whim. Increasingly weird and deranged behaviour passes entirely without comment. There is a potentially interesting play trying to get out here about the English psyche in the age of anxiety - but it is smothered by a lack of nerve.